Symbols

On the remarkable aesthetic prochuvstvovanii death speak many ancient written sources, among them "A Conversation disappointed with his spirit" - the Egyptian papyrus, written about four thousand years ago. This startling confession tired and desperate man, trying to convince themselves poetic images in the goodness of death-comfort girls: "Death is before me today like a cure, like the output from an illness. Death stands before me today like the aroma myrrh, like sitting under a canopy in windy day. Death stands before me today like the aroma of lotus, like sitting on the shore of drunkenness. Death stands before me today like the removal of the storm, like a man returning from a hike to his house. ... Death is before me today, just as the people wished to see their house after he had spent many years in prison... " Edgar For once remarked that the death of a young beautiful woman - the best theme for the artwork. True, he was not a pioneer here. Even in the Middle Ages contritely about the death of a beautiful transmitted primarily through the image of the deceased woman's beauty. Leonardo da Vinci wrote in sorrow: "O time, destroyer of things, and age-eyed, you destroy all things and all things devours hard teeth's little by little, slow death. Helen, when looking in the mirror, seeing the annoying wrinkles of his face, committed old age, complains and thinks alone, twice what had been kidnapped. " In the Middle Ages through the Fleur Christianity clearly proglyadyval rough materialism, which, according to I. Heyzingi could not accept the idea of the death of something beautiful without having to doubt the beauty in itself. Since the elegant literature has become the province of "the broad masses of workers and to this day almost all the writers with" stoned "to send their characters on a light. Yes even give the names and relevant: "The Death of Ivan Ilyich", "Death in Venice", "Death Tarelkina," "Death of salesman," "Girl and Death", "Invitation to a Beheading" or "Death." Of course, I mean works of serious, world-wide, since the bodies of the detective tower mountains, but it is not one iota closer we come to heart prochuvstvovaniyu death or to a rational comprehension of it. As is known, the dialectic of death in art is passed through to the category of tragedy. The fact that the aesthetic emotion includes both joy and sorrow, horror, govarival even Hume. Without death there is no catharsis, purification, - the law of ancient tragedy, as a cloak sex of the child, NAVIS over the whole of the medieval and modern literature of West and East (on the north and south silent)... Mortal genius of Shakespeare could be called literature. His characters do not simply die, or kill others, but make it a great effect in the empirical philosophy, internally as if enjoying the transition from the "have" to "not be." Painters and graphics are not death by. In the Middle Ages, she devoted nearly every third or piece of fine art. Understanding the death occurred simultaneously in the sublime (ekzestentsialno-eschatological) and in the domestic setting. And for many Renaissance artists death - it is almost a celebration, a feast of colors and flesh (albeit dying). Even Christ was crucified managed to write very zhiznelyubivymi colors. Consumer same comprehension of death (eg, a miniature of the books like "The Art of dying"), but differed familiar to the snub-nosed attitude, but still did not lose the spiritual, existential tension. Critical realism XIX century translated the reflection of death in the social plane. "Morning Streletsky penalty Surikov or execution of the conspirators in Russia" and "suppression of the Indian uprising" Vereschagin - a classic example. For painters, realist, it was important not only to convey the internal state of man, but rebuke arranging an unfair world. Medieval aesthetics do not reduce the image of death, even lubochno-household thumbnail. A "higher realism" has disposition rights of death, treating it as a social act, and no more. Of the generals, death was lower in the non-commissioned officers and sent to the Caucasus, into the army. The Art of XX century, restored the death of her epaulette. But this is literature rather than painting. However, Russian Literature in XIX century, has managed to overcome the child's illness social kritikanstva went out to the "cursed" questions of existence. Here Russian writers (especially Dostoevsky and Tolstoy), almost at the century ahead of Europe (and the rest of the world). What say, but all the existential literature of our century - a mere glow "Death of Ivan Ilyich" and "The Brothers Karamazov." Art first started talking about the death of any person, even the least, as the loss of the entire world. True, the world culture in the secondary reflection of the phenomenon of death - it was either pletetsya of Buddhism, death equal to the life (for death - this is a new birth), or for any type of art the teachings of existentialism, where life and death are equal, because Odinkovo nonsense. If you go to a higher level, remove from the pragmatic function of aesthetic pleasure in the perception of art describing the death of (UV-F, barely reprimanded!), You will have to go to the philosophical category, as did LN Gumilev in dialogue with A. Panchenko "To the candle does not goes off." In his view, "the most significant fact that the Earth is not only the accumulation of sunlight through photosynthesis, but also transforming it into an artistic form, striving to irrational concepts: Truth and Beauty." However, LN Gumilev escapes while talking on a willows biggest challenges the theory of cognition, the essence of which can be formulated as follows: if there is aesthetics, beauty, truth, etc. outside of human consciousness, or all that dies with you? Die Dialogues of Plato, the laws of Newtonian mechanics, beleyuschie Odinoko sail in the sea mist blue "die" genius pure beauty, shrill canary sunflowers Van Gogh...

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